[Closed] Now Playing XXXII

Eagle eye is pretty good, an exception. I haven't heard FD yet but from the comments i read around, i doubt it's anything special.

You've missed my point about as much as Michael Bay missed the mark when he made Pearl Harbor!

When I say I want to hear passion and 'escapism' in scores (and I use the terms in a very loose sense), it doesn't mean I only listen to one style of film score. (Clearly not the case since you know for a fact I don't listen to just the one sort of score.) What it means is they're two things I enjoy most about film music as a whole. The two primary reasons I love scores you could say.

These loose terms cover a stupendously large amount of scores of all shapes and sizes - doesn't even have to be a masterpiece to adhere! (Although it helps.) I'm pretty sure all of my favourite scores must have either one or both of these qualities. Of course it depends on the music itself too, which is purely preferential and infinitely harder to explain, even in qualitative terms. But a score unable to move me or connect with me on some level is unlikely to become something I'll enjoy. Which is precisely the case with a lot of Desplat's small 'intimate drama' scores, irrespective of how well crafted they may be, of which I fully understand.*

Although I do like The Curious Case of the Unusually Long Titled Story about a Geezer named Benjamin Button. That particular score has a wonderful ethereal, magical quality going for it, which is ... *dum dum DUM*... escapism!

NP: The Painted Veil....Alexander Desplat This one had quite a hypnotic theme. I don't think it lacked passion at all.
Thomas

Emotional escapism is the richest drug of all.

I think you explained yourself quite well Steven!!!

NP: The Final Destination (Brian Tyler)

A bit of AVP2, a bit of Bankok Dangerous, and a bit of War (especially in "Car Washicide"). Tyler uses Shirley Walker's theme (or part of it), but mostly in that ominous celli statement used in the first movie. His work is a bit all over the place, but it works in the film. And the underscore for the climatic movie theater scene nicely recalls Walker's work for the climatic hospital scene in FD2 -- nice touch.

"The Final Destination Suite" is easily hands down the best track of the bunch. But it's not a bad Tyler album by any means.

Nice explanation there, Steven. I can tell you, i can get a lot of that when listening to Lust, Caution or Syriana and Birth for instance. Again, i believe it's down to one's character and tastes rather than a problem with Desplat's music.

"The Killing Room", although I doubt it´s gonna be released.

I agree but, don´t we always complain when a release is too short or there are missing cues that one specially liked in the movie? IMO, the longest release the better. There´s always time to skip this or that track, or to make your own playlist. I don´t know if these long Tyler releases are up to him or someone else, but I like to think it´s Tyler´s idea to give the score geek (almost) all the music he has composed for a specific film.

THE LAST TEMPTATION OF CHRIST - PETER GABRIEL

This is my all time favorite score by Peter Gabriel. When i heard this score for the first time, i was quite stunned and unbelievable that how a non-film composer have beautifully composed for this controversial movie. Its really awesome. Nusrat Fateh Ali Khan's solo voice in this score is really haunts me. Peter Gabriel is great musician. A.R.Rahman consider him as his teacher of music. In fact, A.R.Rahman is huge fan of Peter Gabriel.

I guess it has, but it became a cliche for a reason! Could you class The Final Conflict as a horror score? If you could, that would probably be my favourite... but then it feels far too epic to be a proper horror score?

But.... but... you're Anthony? You like explosions and guns and gratuitous sex and violence?
Fine. I'll be the heathen for once....


Reign of Fire Edward Shearmur

Very true, I wouldn't say there's anything wrong with Desplat's music, he's a clearly a talented composer... but a lot of it just leaves me cold. I might as well try to explain why blue is my favourite colour! (Because it's calming? So is green. Because it's pretty? So are many other colours. So you can see my point analogous to explaining it in a musical context.)

Why would you want to have good music spread out through dirge? Wouldn't you just want the good music?

Again, why not just cut out the dirge and go straight for the good stuff? Why bother with it if it is, as you say, dirge?

I'm all for long album releases, but if there's a certain degree of tracks that add nothing to the overall experience, or even hinder it, then I'll get rid of them (that is if I can be arsed and deem the good stuff worthy enough for the effort). With the truly great scores, the 'lesser' moments make the 'better' moments even better. But with regular scores, I feel they just get in the way of a more enjoyable listen (i.e. all Brian Tyler scores).